LaurieAnnie's photos with the keyword: foot

Title: Marble right foot wearing a sandal Period: Imperial Date: 1st or 2nd century CE Culture: Roman Medium: Marble Dimensions: H.: 12 1/8 in. (30.8 cm) Classification: Stone Sculpture Credit Line: Fletcher Fund, 1928 Accession Number: 28.57.7 Right foot and ankle, wearing a sandal. Text from: www.metmuseum.org/art/collection/search/252959

Oedipus and the Sphinx, 1864 Gustave Moreau (French, 1826–1898) Oil on canvas; 81 1/4 x 41 1/4 in. (206.4 x 104.8 cm) Bequest of William H. Herriman, 1920 (21.134.1) Moreau's interpretation of the Greek myth draws heavily on Ingres' Oedipus and the Sphinx of 1808 (Musée du Louvre, Paris), which was exhibited in Paris in 1846 and 1855. Both painters chose to represent the moment when Oepidus confronted the winged monster in a rocky pass outside the city of Thebes. Unlike her other victims, he could answer her riddle and thus saved himself and the besieged Thebans. The painting was a success at the Salon of 1864; it won a medal and established Moreau's reputation. Moreau made more than thirty studies for this work and many repetitions after it. Text from: www.metmuseum.org/toah/hd/symb/ho_21.134.1.htm

Bronze statue of the emperor Trebonianus Gallus A.D. 251–253 Roman Object Details Period: Imperial Date: A.D. 251–253 Culture: Roman Medium: Bronze Dimensions: H. 95 in. (241.3 cm) Classification: Bronzes Credit Line: Rogers Fund, 1905 Accession Number: 05.30 This bronze monumental statue is one of the very few nearly complete Roman bronze statues of the third century preserved today. It is a reminder that many of the disembodied portrait heads displayed in these galleries were once attached to freestanding sculptures, whose original appearances were undoubtedly quite different. Portraits of the emperor served the highly important function in imperial propaganda of presenting the ruler to the public and of projecting the personality with which he wished to be perceived. Leadership and military strength are evoked in the heroic nudity of the figure and in the pose, which recalls the famous statue of Alexander the Great with the Lance by Lysippos. In contrast to the idealized body, the portrait head represents the emperor with brutish realism. Trebonianus likely would have cradled a parazonium, or short sword, in his left arm, and held a spear in his upraised right hand. The statue has undergone several campaigns of restoration since its discovery in the early nineteenth century and was examined in great detail as part of the conservation treatment in preparation for its display here. Visual examination inside and out, combined with x-radiography, made possible the clear identification of ancient and restored areas, which are indicated in the accompanying illustration. At least three-quarters of the statue is ancient. Despite the discrepancy in scale, the head belongs to the body. Although the mantle draped over his left shoulder is a modern restoration, cast edges beneath it confirm that the statue had a similar embellishment in antiquity. The left foot with its elaborately decorated open-fronted boot appears to be ancient but may not belong. Text from: www.metmuseum.org/art/collection/search/247117

Bronze statue of the emperor Trebonianus Gallus A.D. 251–253 Roman Object Details Period: Imperial Date: A.D. 251–253 Culture: Roman Medium: Bronze Dimensions: H. 95 in. (241.3 cm) Classification: Bronzes Credit Line: Rogers Fund, 1905 Accession Number: 05.30 This bronze monumental statue is one of the very few nearly complete Roman bronze statues of the third century preserved today. It is a reminder that many of the disembodied portrait heads displayed in these galleries were once attached to freestanding sculptures, whose original appearances were undoubtedly quite different. Portraits of the emperor served the highly important function in imperial propaganda of presenting the ruler to the public and of projecting the personality with which he wished to be perceived. Leadership and military strength are evoked in the heroic nudity of the figure and in the pose, which recalls the famous statue of Alexander the Great with the Lance by Lysippos. In contrast to the idealized body, the portrait head represents the emperor with brutish realism. Trebonianus likely would have cradled a parazonium, or short sword, in his left arm, and held a spear in his upraised right hand. The statue has undergone several campaigns of restoration since its discovery in the early nineteenth century and was examined in great detail as part of the conservation treatment in preparation for its display here. Visual examination inside and out, combined with x-radiography, made possible the clear identification of ancient and restored areas, which are indicated in the accompanying illustration. At least three-quarters of the statue is ancient. Despite the discrepancy in scale, the head belongs to the body. Although the mantle draped over his left shoulder is a modern restoration, cast edges beneath it confirm that the statue had a similar embellishment in antiquity. The left foot with its elaborately decorated open-fronted boot appears to be ancient but may not belong. Text from: www.metmuseum.org/art/collection/search/247117

Terracotta guttus (flask with handle and spout) Greek, South Italian, Campanian, black-glaze, 4th century BC Accession # 06.1021.263 The left foot wears a sandal with a thick sole- perhaps that of an actor? The functional features of the object include the strainer at the top, a small spout in the form of a lion's head, and the vertical ring handle. Vases in the form of sandaled feet occur in Greek art at all periods and in all areas. Text from the Metropolitan Museum of Art label.

Perseus with the Head of Medusa, 1804–6 Antonio Canova (Italian, 1757–1822) Marble; H. 86 5/8 in. (220 cm) Fletcher Fund, 1967 (67.110.1) This Perseus, purchased by Countess Valeria Tarnowska of Poland, is a replica of Canova's famed marble of Perseus in the Vatican, conceived about 1790 and first shown in 1801. Based freely on the Apollo Belvedere, which had been carried off to Paris under Napoleon, it was bought by Pope Pius VII and placed upon the pedestal where the Apollo had formerly stood. In the Museum's version, Canova has refined the ornamental details and aimed for a more lyrical effect than in the Vatican Perseus, a stylistic streamlining characteristic of his artistic process. Medusa's head is based on that of the antique Rondanini Medusa. Text from: www.metmuseum.org/toah/ho/10/eus/hod_67.110.1.htm

The Virgin Mother by Damien Hirst at Lever House Park Avenue, New York City Damien Hirst (born June 7, 1965) is an English artist and the leading artist of the group that has been dubbed "Young British Artists" (or YBAs). He dominated the art scene in Britain during the 1990s and is internationally renowned. Death is a central theme in his work. He is best known for his Natural History series, in which dead animals (such as a shark, a sheep or a cow) are preserved, sometimes cut-up, in formaldehyde. His iconic work is The Physical Impossibility Of Death In the Mind Of Someone Living, an 18ft tiger shark in formaldehyde in a vitrine. Its sale in 2004 made him the second most expensive living artist (after Jasper Johns). The Virgin Mother, a massive sculpture depicting a pregnant female human, with layers removed from one side to expose the foetus, muscle and tissue layers, and skull underneath. Text (after the first paragraph) from: en.wikipedia.org/wiki/Damien_Hirst

The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum. The Basilica of Constantine housed the offices of the Prefect of the City, the highest ranking imperial official during the reign of Constantine the Great, and the colossal statue stood in the W. apse of the basilica. Constantine appeared seated, with a globe in one hand and the other hand raised in salute. The statue was an acrolith. Only the head, the lower arms, the hands and the feet were of marble. The rest of the statue, the parts covered by clothing, was probably made as a wooden frame covered with bronze or plaster. It seems the statue wore a crown or some other headgear, but nothing remains. The pieces of the statue were found in 1486 in the W. apse of the basilica, where it stood in antiquity. They have been in the courtyard of the Palazzo dei Conservatori since. text from: sights.seindal.dk/sight/921_Colossal_Statue_of_Constantin...